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And another thing… Conspiracy theories
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Thanks for taking the time to respond. The best way for me to learn is to throw myself on a couple of projects and by the end of them, I will usually know what I’m talking about.
The problem is, as a freelance, you just can’t use client’s time for that and I have been too busy to create my own.
But hearing this makes me think I need to get in there a little deeper – I don’t mind a learning curve. Everyone seems to be saying that it’s great “for certain types of projects” but what are they?
I do mostly TVC’s – a feature doco occaisionally – and a big bulk of my work is creative development ( grabbing media from all over, youtube, avi’s, dvd’s ) mixed formats, crappy formats but with good storytelling 😉
Do you think it’s suitable for that?
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I’m in a similar situation. More than 10 years on FCP.
Now, I want to switch, since in my current coming up project, the C300 footage cannot be suggested anymore in FPC. So I decided to go two ways – learning X and AVID.
PPro I still kind of now, it was actually my first NLE software. It’s very hard, since I have to learn it while actually keep working, so I have long nights with little sleep. I got into X for a week now. And like Shane I hated it in the beginning when they released it back then, since I felt back stabbed by Apple. But now I got over the anger and I must say some things in FCPX are just mind blasting. I just keep asking myself, why nobody introduced those things before to a software? But that said, there is still things, that need definite work still: Now I have to spend another 150.- Dollars, only to be able to export AAF and OMF, which I think, should be part of a pro software.
Other than that, I can strongly suggest FCPX. I like AVID too, but it’s a very solid tank, while X is a very mobile jet. I find many things in AVID very inflexible and not intuitive, compared to even FC 7.
If you go for X, I hope, I can help you by then with Qs, like all the good COW people help me right now to get up to speed.Greetings,
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
Thanks Sascha,
That’s very kind of you. I’m going to have to bite the bullet, but still not one post department/in-house system I work on is using it. Oh well – with CC in the mix, it looks like it may be the cheapest solution (till we’re all hooked te he) so I have to assume people with vote with their wallets if it does everything it’s supposed to.
I am sure I will be looking for tech help very soon!
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[Bill Davis] “We shot two cameras and did 12 takes of mixed wides, mediums and CU to a standard lip sync track. What made it so insanely fast was being able to load up all 24 takes as proxys in the X angle editor and easily switch things in passes.”
Every time you write about the joys of cutting multicam in FCPX i flash back to this previous conversation we had about 2 years ago.
https://forums.creativecow.net/readpost/335/18296
[Herb Sevush]
“Multi-Cam essentials
1) The ability to create a multi-clip with a minimum of 25 angles, no limit would be better.”
https://forums.creativecow.net/readpost/335/18336
[Bill Davis]
“I don’t want to turn my laptop into your idea of a multi-cam monster. At ALL. To me, 25 angles is at LEAST 17 too many. – at least until Thunderbolt fully implements the all optical roadmap. Anyway, I personally I don’t want the dev team to spend a minute coding in stuff that only a tiny fraction of the users will ever really need.
Maybe at some distant future point, we’ll have some kind of UBER-WiFi that lets some kid sit at their laptop and grab 25 plus real-time feeds from the cel phones surrounding a BMX race, but I’m not holding my breath for that.”Must feel good to be so right so often.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “The quality is superb and the stuff like magnetism that ticked off so many editors as foreign in the beginning is now proving to be a major efficiency boost once you expect it, since you can assemble blocks that remain connected and move them as units at will.”
Bill, this remains my favorite thing about X
I’m cutting a doc right now with a ton of footage and the ease in which I can pick up a whole cut section, with a person, their sound, their b-roll and it’s sound, their graphics and their music and drag it all down the timeline and watch how the timeline opens up to part like the Red Sea for to drop it in is great.
Moving whole sections to get a feel of how they work together. Love it.
Another thing that I don’t see talked about enough is how Apple has really focused the work flow with the top cameras.
If the OP has not seen the article that James Kaelan posted on Moviemaker about Red workflow it’s a must read.
Maybe it’s because I love to shoot that it stuck out to me.
But from day one of it’s release, they featured the Alexa. I said then, only top end productions use that camera.
They have all the top camera’s in the world and a great DSLR (with the way it syncs) workflow.
We get a ton of interns every year at Fox and the other day I saw one with X on his laptop.
Whatever he is learning on at the University he goes to (I don’t think it’s X) he will know that plus X
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[Shane Ross] “they alienated a bunch of us who use it for the “hollywood type” of productions, and we are a pretty vocal bunch”
I think they actually alienated the FCPX user base to be honest, haven’t come across a single job offering asking for FCPX, and I haven’t received an offline project (I do onlines mostly) done in FCPX.
To be honest, I never received a Premiere project either, FCP is still strong in Hollywood, but Avid is stronger.
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That’s what it is like in my town too – everyone stagnated – no reason to put money into anything else FCP7 and avid do what we need. But I reckon all the kids will be well versed in X soon.
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We have a saying in German: what the farmer doesn’t know, they don’t wanna eat. I think, Hollywood is a very inflexible, traditional environment. It takes time until the wall for X is broken. Believe me, if the Murch starts to edit in X, many will follow. I hated it when it was released, but I realise more and more the potential of it. If they manage to kill the weaknesses it has and ad the things it’s still missing and if they make it as solid working as 7 or MC, it will kick some ass in the industry.
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
[Fiona Fuchs] “That’s what it is like in my town too – everyone stagnated – no reason to put money into anything else FCP7 and avid do what we need. But I reckon all the kids will be well versed in X soon.”
I guess, it’s not a bad idea to learn it just in case, you could probably spend 15 minutes every day to build repetition and get used to it, so when you need to pick it up you don’t have to re-learn it, but I wouldn’t spend too much energy on it, as far of what I’m seeing in the industry today, Avid still IS the most used and trusted NLE for films and TV, there’s a lot of infrastructure built around Avids, and lots of workflows and interchange between departments, and to their merit, they’re improving but not changing the way they work, you know the expression, “if it works, don’t change it” (At least not Apple style)
I hear a lot of how fast you can edit, but will that make a better edit? I think the time to analyze and think your edit through it’s important.
I’d watch for Lightworks when it comes for Mac though, that may be a game changer.
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You definitely got a point about the speed l, Gustavo. Fast aint always better and good things need time to develop, but there is times and jobs you just have to be quick to hit the deadline. Specially in the commercial world and there I definitely see the strength of X, since it does allow you to technically work faster than on AVID. it’s a bit like with cameras: there is not the one best camera, only the best camera for this specific job. At the end of the day it’s the editor that counts, not the tool. If you are a master in what you do, you can make a great film in iMovie.
Could you tell me what is light works? I’m curious.Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang
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